Soccer :: essays research papers

The official soccer rules are called the "Laws of the Game" and are revised annually (usually in July) by FIFA (pronounced "FEE' fuh"), the world soccer governing body, but youth organizations usually adjust the rules to fit children. Typical adjustments are field sizes, game lengths, number of players per team, the number and frequency of substitutions, "offside" is sometimes not called, and slide tackling is sometimes not allowed. Field sizes, ball sizes, length of games & rules vary by age group. The FIFA rules do not require separate teams for girls and boys, but many soccer clubs and associations have separate leagues for boys and girls. Discuss the rule variations with an official of your league. In brief, the "Laws of the Game" are not simple and can be difficult to understand. The official FIFA rules have 17 sections and the rule book is about 70 pages long. There are also an additional 44 pages titled "Questions and Answers". In addition, how to interpret the rules is discussed in referee clinics, special memos, videos for referees, and a guidebook for soccer officials that is over 300 pages long. There is also the problem that the rules use many soccer terms that are not defined in the rules (we try to define all of these terms in the SoccerHelp Dictionary) and there are quirks, such as the fact that terms which are commonly used such as "Hand Ball", "obstruction", and "Linesmen" are not defined in the official rules. Another confusing aspect of the rules is the way "Fouls" are defined; basically, they are defined not only as "Fouls" but also in the rules regarding "Cards". For this reason, to understand "Fouls" you must also read "Cards".

‘Lord of the flies’ – take it out of the classroom

The arrival of Y2K brought none of the social, environmental, or technological catastrophes predicted by the tabloids, but neither did the new millennium bring relief from the persistent impediments to free expression that characterized the twentieth century. Arthur Schlesinger, Jr., reminds us that throughout most of human history, authority, â€Å"fortified by the highest religious and philosophical texts, has righteously invoked censorship to stifle expression.† He cites the Old Testament proscription: â€Å"Tell it not in Gath, publish it not in the streets of Askelon; lest the daughters of the Philistines rejoice, lest the daughters of the uncircumcised triumph.† Schlesinger also offers the injunction of Plato: â€Å"The poet shall compose nothing contrary to the ideas of the lawful, or just, or beautiful, or good, which are allowed in the state; nor shall he be permitted to show his compositions to any private individual until he shall have shown them to the appointed censors and the guardians of the law, and they are satisfied with them.† Introduction Lord of the Flies has been the center of controversy over the years having been resurrected from its status as a cult classic. However, in my opinion this novel represents a lot of possible socially wrong viewpoints and could be the cause for seeding violent, vulgar and anti-social thoughts in school children. It is because of this reason that I propose to restrict it from classrooms in the school system. The issue of banned books has been escalating since Guttenberg introduced the printing press in 1455. Once speech could be printed, it became a commodity, to be controlled and manipulated on the basis of religion, politics, or profit. After Pope Leo X condemned Martin Luther’s Ninety Five Theses in 1517, both Catholics and Protestants began censoring materials that they found dangerous or subversive. Religious censorship quickly led to political censorship when Luther defied the Pope, bringing an immediate response from Emperor Charles V. On May 26, 1521, the emperor issued the Edict of Worms, containing a â€Å"Law of Printing,† which prohibited the printing, sale, possession, reading, or copying of Luther’s works. However, in the United States and England, a social consensus on censorship was emerging that would be far more repressive than overt state or church power. By the 1830s, this new ideology was proclaiming the necessity for propriety, prudence, and sexual restraint. During the remainder of the nineteenth century, private virtue became public virtue, and American and British editors, publishers, writers, and librarians felt obliged to examine every book for crude language or unduly explicit or realistic portrayals of life. In her introduction to the 1984 New York Public Library exhibition on censorship, Ann Ilan Alter said that there may have been more censorship, self-imposed or otherwise, during the nineteenth century in England and the United States than during all the preceding centuries of printed literature. The twentieth century in America has seen the emergence of pressure groups that maintain an uneasy balance in the struggle to interpret our First Amendment rights. The federal government tips that balance in whatever direction the winds blow, and since 1980, those winds have been chilling. Arthur Schlesinger, Jr. notes: â€Å"[T]he struggle between expression and authority is unending. The instinct to suppress discomforting ideas is rooted deep in human nature. It is rooted above all in profound human propensities to faith and fear.† Lord of the Flies – In the Spotlight Lord of the Flies focused attention on the concept of cult literature as a campus phenomenon. Time magazine called it â€Å"Lord of the Campus† and identified it as one in a series of underground literary favorites that were challenging the required reading lists of the traditional humanities curriculum. Up until William Golding's surprise bestseller, it had been common knowledge that students were reading â€Å"unauthorized books,† especially J. D. Salinger The Catcher in the Rye, in spite of (and frequently because of) their condemnation by â€Å"the establishment.† But the existence of a serious sub-literature with an intelligent, dedicated readership flourishing in the midst of the conventional curriculum was something unprecedented on college campuses. During the twenties and thirties, the novels of F. Scott Fitzgerald, Ernest Hemingway, and Thomas Wolfe had quickly been welcomed into the ranks of mainstream, respectable writers and labeled literature. While a few critics might choose to ignore these newcomers, there was nothing particularly subversive about what they wrote. Following the success of The Catcher in the Rye, however, no literary observer could be quite sure that the tastes of young readers could be trusted. After all, there were certain attitudes in Salinger that threatened the established order, and when Golding wrote Lord of the Flies, there was apprehension afoot that young readers might find Jack more interesting than Ralph-as indeed many of them did. Analysis What nervous detractors overlooked was the obvious lesson in this Golding classic: that traits like naked aggression and gratuitous cruelty, selfishness, idolatry, superstition, and a taste for violence are not restricted to any particular nationality or race but are inherent in human nature and inhabit the mentality of every human being. If there was anything subversive about this idea, it was that no longer could evil be considered peculiar to the Japanese or the German character. In fact, those who had recently fought against them had waged war with equal relish. When Golding saw the ecstasy on the faces of his fellow sailors in the North Atlantic as they returned the fire of the enemy or launched an attack he felt the shock of recognition that the beast was within us all, just waiting to break through that fragile veneer we call civilization. What he clearly intended as a reminder to his readers (after all, man's aggressive nature was not a new philosophical position by any means) became for cult readers another weapon to use against those who argued that atrocities such as those committed by the Germans and the Japanese could never be committed by the Allies who had struggled against them. â€Å"We† were good people who treated others with kindness and generosity and fought those who attacked us with the greatest reluctance and the utmost disdain. Even to suggest that we might enjoy the slaughter was to malign the honor and integrity of the Allied forces. Regardless of how his theme was interpreted, however, Golding's thesis had firm mythological precedents. There are many myths underlying Lord of the Flies, but the basic description of reality is of a world inhabited by men of an evil nature restrained only by voluntary adherence to a pragmatic pact of nonaggression. Such a pact passes for civilization, but because it is maintained only through fear, it is constantly threatened by that fear. The defensive fear that keeps one man from his neighbor's throat can also incite him to cut that throat before his own gets cut. Lord of the Flies is a case study in alienation. Gradually, with horrifying inevitability, against a backdrop of paradise, the numbers of those who remember their humanity and still cling to the threads of civilization are reduced until there is but one solitary figure left, and just before the ironic rescue, we see him–become him–as he flees his savage pursuers, the backdrop itself reflecting the degradation of those pursuers as the island of paradise burns and smokes and is reduced to char and ashes. Storyline First we see the whole group splitting and taking sides, but the balance, at least for a while, remains on the side of Ralph. Then slowly but irresistibly, Ralph's supporters are drawn toward the charismatic Jack and his choir, until finally there are only four holding out against them: the twins, Piggy, and Ralph himself. Then the twins are captured and Piggy is killed. Ralph is alone, civilized man alone against the powers of darkness. But we are left with the awful suspicion that he remains â€Å"civilized† only because Jack must have an enemy and Ralph must be that enemy. Excluded forever from Jack's group, Ralph encourages exaggerated sympathy because he is so terribly alone. A victim always seems somehow more civilized than his tormentors. Nevertheless, much of the power of this book derives from the fact that our sympathies can only be with Ralph and that we, therefore, can feel the vulnerability, the awful weakness, of flimsy rationality at the mercy of a world gone mad. There is no place to run, no place to hide, no exit. And rescue is only temporary and perhaps ultimately more horrible than quick and early death. Media treatment of issues about children relies heavily on such simplistic generalizations with children represented as objects of concern or as threats to adult order. The former relies on an idealized view of children as pure, innocent and vulnerable, needing protection or salvation from dangers they can neither identify nor comprehend. The latter, of children drawn innately (unless prevented) towards evil and anarchy, also has deep historical roots (Miller, 1983). It is a portrayal powerfully evoked by William Golding’s (1959) novel, Lord of the Flies. The power of this fictional work is evident in the frequency with which it is given respect and credibility in press accounts of ‘deviant’ children. It evokes an apocalyptic vision of anarchy as being inevitable should children lose the discipline and order of the adult presence. The portrayals of children as ‘innocent victims’ or ‘culpable delinquents’ are no more than alternative placements that the adult world creates into which children are located at different times, in different circumstances. The idea that children are products of nature or nurture leads to media concern as to whether child ‘deviance’ is rooted in a biological predisposition or in an environmental determinism. Children’s meanings and motivations are persistently ignored, as is the position of adults, both familial and professional, as powerful definers of deviant behavior. Consequently, much of the physical and psychological harm inflicted on children by adults is disregarded, while transgressions by children of their set role are the subject of furious condemnation. Original sin is what Golding was writing about a religious concept, we suspect more relevant to the mayhem that occurred at this C of E school in Liverpool than any glib sociological generalization. Children will run wild, viciously wild, unless they are properly supervised. They need parents to give them a stable and ordered home. They need teachers who know how to keep order as well as how to impart knowledge. They need, God help them, practical instruction in the difference between right and wrong. Here was a rhetoric established and developed which was to re-emerge throughout the next decade, particularly following the murder of James Bulger. It invoked Golding’s construct of anarchy inherent in children left to themselves. Thesis – Fallacies and Immoralities Golding seems in many ways to simplify Lord of the Flies in order to make his point as clearly as possible. For example, all developments in the book are entirely predictable, suggesting not only that the course taken by Golding's boys is inevitable, but that violence and brutality are inevitable in all interactions among human beings. Moreover, though Golding's carefully constructed book includes a fairly complex network of literary symbols and devices, all of them tend directly to support the central message. For example, the apparent deus ex machina ending of the book is undercut by the facts that the British are still at war and the adults who arrive to restore order are themselves engaged in a mission of destruction the motivation of which is not fundamentally different from that of the savage hunting frenzies of Jack and his tribe of boys. This parallel presumably suggests that the supposedly â€Å"civilized† adults are really as savage as the primitivized boys, though it could also be taken as a suggestion that the training received by Jack and his â€Å"choir† in military school had already been sufficient to inculcate them with the kind of militaristic values that have led civilization to a cataclysmic war. Indeed, despite the apparent clarity of its message, Golding's fable is flawed on several accounts. For one thing, this island society could never really represent a new start for humanity because it is all male and therefore incapable of perpetuating itself. For another, the boys on the island are not really innocent; they have already been thoroughly socialized by the same society that seems to be destroying itself through warfare. Still, in some ways Lord of the Flies is an exemplary dystopian fiction. In it Golding creates a fictional society distant from the â€Å"real† world, then utilizes the defamiliarizing perspective of that distance to comment upon the shortcomings of our own social reality. However, whereas most dystopian fictions are designed to function as cautionary tales that warn against the development of specific social and political problems, Golding suggests that all human societies are inevitably doomed by the darkness at the heart of humanity itself. Golding's book thus lacks the drive toward positive social and political change that informs the best dystopian fictions. If there is a cautionary element in the book, it would seem to involve a hope that were humans aware of their natural tendencies toward violence they might stand a better chance of keeping those tendencies in check. In this respect, it is important to note that Lord of the Flies really makes two major points. First, and more obvious, is the suggestion that human nature lies at the root of most of the ills that plague society. But the book also suggests that society itself is based on an attempt to deny this fact, thus making matters even worse. Although many critics have complained about the gimmick at the end of the novel — the boys are saved; the officer doesn't â€Å"understand† the violence which has occurred — it is justified because it is another â€Å"appearance.† The officer allows his â€Å"eyes to rest on the trim cruiser in the distance,† but we doubt that he can see it or the water with full knowledge. Lord of the Flies is therefore a novel of faulty vision. Can the boys ever see the elements? Are the elements really there? Is a marriage between elements and consciousness possible? The novel is not about Evil, Innocence, or Free Will; it goes beyond (or under) these abstractions by questioning the very ability to formulate them. Look at any crucial scene. There is an abundance of descriptive details — the elements are â€Å"exaggerated† because they are all that the boys possess — but these details are blurred in one way or another. The result is, paradoxically, a confusing clarity. (Even the â€Å"solid† words the boys use are illusive: Piggy says â€Å"ass-mar† for asthma; Sam and Eric call themselves one name, â€Å"Sam ‘n Eric.†) Here is the first vision of the dead man in the tree: In front of them, only three or four yards away, was a rock-like hump where no rock should be. Ralph could hear a tiny chattering noise coming from somewhere–perhaps from his own mouth. He bound himself together with his will, fused his fear and loathing into a hatred, and stood up. He took two leaden steps forward. Behind them the sliver of moon had drawn clear of the horizon. Before them, something like a great ape was sitting asleep with its head between its knees. Then the wind roared in the forest, there was confusion in the darkness and the creature lifted its head, holding towards them the ruin of a face. Conclusion Golding gives us the short distance, the hulking object. Ralph (and the others) should be able to see. But he cannot. Although he â€Å"binds† himself — becoming more stable — he does not know where the noise comes from or what the â€Å"no-rock† is. His senses cannot rule the elements. He, like the lifted face, is a ruin. V. S. Pritchett claims that Lord of the Flies indicates â€Å"Golding's desire to catch the sensation of things coming into us.† On the contrary, it indicates his need to tell us that â€Å"out there† and â€Å"in here† never marry — not even on an enchanted island. We should not forget that the Lord of the Flies may be only a skull — an object given miraculous life because of faulty vision. It is precisely because of this misguided literary piece and its possibility to lead school children astray with its vague philosophies. Works Cited Carey John, ed. William Golding: the Man and His Books. New York: Farrar, Straus & Giroux, 1987. Devkota Padma Prasad. â€Å"The Darkness Motif in the ‘Primitive' Novels of William Golding.† DAI 51 ( 1990): 860A. Monteith Charles. â€Å"Strangers from Within into ‘Lord of the Flies.'† ( London) Times Literary Supplement ( September 19, 1986): 1030. Tanzman Leo. â€Å"The Murder of Simon in Golding's Lord of the Flies.† Notes on Contemporary Literature ( Nov. 1987): 2-3. Watson George. â€Å"The Coronation of Realism.† The Georgia Review (Spring 1987): 5-16. Golding William. Lord of the Flies. New York: Coward-McCann, 1962.

Persepolis Context Analysis - 908 Words

Persepolis is an autobiographical graphic novel, visually portraying the life of Marjane Satrapi and her experiences growing up in turmoils times. The novel recounts the stages in her life as she grows older, this follows her life going from a child growing up in the new Islamic regime that governed Iran to moving to Austria and France and being a teenager in the western world. Marjanes documentation of her life also allows for an exclusive insight into what life is like a religious and authoritarian rule of one supreme leader, which is quite a difficult concept for the free and democratic West to understand. The historical context of Persepolis is important to understand and interpret the text, as a person from a western nation it might†¦show more content†¦This is also demonstrated fairly early on in the novel where Satrapi states â€Å"Deep down I was very religious but as a family we were very modern and avant-garde†(page 4). This statement was accompanied by an image of Marjane as a young child standing between an image of modern concepts like maths, science, and physics on her left and on the right she is depicted wearing a veil and with some traditional designs behind her. This picture which we are presented with is a perfect demonstration of the conflict between Western modernism and religious traditionalism. On the surface this is a display of Marjanes internal struggle with her identity, choosing between the modern life with her parents with rock music and pop culture or her more nationalistic and religious side of her nation. This is also a representation of Ira n during the revolution, after Mohammad Reza Pahlavi the then Shah of Iran fled the country, there was a void of power left behind and there were two main cultures battling for control, that of the western and modern which was often represented by the younger population of Iran and that of the more traditional and religious side which turned out to be the victor with Ayatollah Khomeini a Shia cleric taking control and becoming the new leader of Iran. This raw display of internal conflict gives the basis to many of her future decisions and the even all though it stays with her for the rest of her life. Persepolis was written by and about the authorShow MoreRelatedMarjane Satrapi s Persepolis Story1487 Words   |  6 PagesMarjane Satrapi’s Persepolis tells the story of her life as a young girl in Iran during the Islamic Revolution. Satrapi’s story is told through an autobiographical graphic novel which is revolutionary because such stories are often told through more common mediums such as Television interviews and text based novels; this difference helps to set Persepolis apart from other works about revolutionary Iran. The Persian people have been largely dehumanized by mass media in a post September 11th societyRead MoreA Literary Lens957 Words   |  4 Pagesshort, and doesn’t really exemplify what exactly the illustrator did to have myself react with joy and laughter. But, later in the seventh book, Persepolis, my description for the artistic lens was much for in depth and analytical. For example, I detailed, â€Å"Her [the author] use of the black, emp ty space to underline the sadness and worry that Persepolis felt when she discovered Mohsen was murdered was perfectly expressed in the illustrations and conveyed a sense of sorrow to the reader.† (PetersenRead MoreMemories And The Formation Of Reality1666 Words   |  7 PagesIn cinema, flashbacks are interruptions that take the narrative back in time from the current point in the story. They are often used to provide background and context to recount current events of a narrative filling in crucial backstories. In its basic form, the flashback is introduced when a presented image dissolves to another image of the past, which can be either as â€Å"a story-being-told or a subjective memory.† (Turim) For example, dream sequences and memories are methods used to present flashbacksRead MoreMemories And The Formation Of Reality1688 Words   |  7 PagesIn film, flashbacks are interruptions that take the narrative back in time from the current point in the story. They are often used to provide background and context to recount current events of a narrative filling in crucial backstories. In its basic form, the flashback is introduced when a presented image dissolves to another image of the past, which can be either as â€Å"a story-being-told or a subjective memory.† (Turim, pg. 1) For example, dream sequences and memories are methods used to presentRead MoreWriting Process After English 115 I Thought, Oh Great, Another English Class And I Am Horrible843 Words   |  4 Pagesguidelines to ensure correct analysis, never really focusing on the students own thought process. If anything, these classes should have been preparing me work on my controlling ideas and writing fluid support for my thesis as well as being able to voice my opinion. Even though I didn’t quite fulfill my critical writing capabilities in high school, I believe English 115 has provided me with the tools to determine purpose, analyze and reason with content and conte xt, evaluate evidence, form a conclusionRead MoreCultural Imperialism And Iranian Art2292 Words   |  10 Pagesright to do it. It could still be done in such a way that it s not aggressive or overly didactic. I m trying to find that form. (Neshat,2016) However, before I do any of this I must first define a few terms that will be essential throughout this analysis. Coming from a critical rhetoric background, I will apply some terms and theories from various scholars in that field as well to give a better understanding of the material being studied. David R. Croteau discusses hegemony in detail in chapterRead MoreAn Evaluation Of Iranian Artist And The Role2283 Words   |  10 Pagesright to do it. It could still be done in such a way that it s not aggressive or overly didactic. I m trying to find that form. (Neshat) . However, before I do any of this I must first define a few terms that will be essential throughout this analysis. Coming from a critical rhetoric background, I will apply some terms and theories from various scholars in that field as well to give a better understanding of the material being studied. David R. Croteau discusses hegemony in detail in chapterRead MoreHow Art Is Affected By Hegemony And Vice Versa2218 Words   |  9 PagesEastern societies that often are run by patriarchal governments. And how that affects the message and or the ability for women to be artistic. However, before I do any of this I must first define a few terms that will be essential throughout this analysis. Coming from a critical rhetoric background, I will apply some terms and theories from various scholars in that field as well to give a better understanding of the material being studied. David R. Croteau discusses hegemony in detail in chapterRead MoreLiterary Criticism : The Free Encyclopedia 7351 Words   |  30 PagesLowry (1989) Sophie s World, by Jostein Gaarder (1991) English Music, by Peter Ackroyd (1992)[39] The Gods Laugh on Mondays, by Reza Khoshnazar (1995) About a Boy, by Nick Hornby (1998) The Perks of Being a Wallflower, by Stephen Chbosky (1999)[40] Persepolis, by Marjane Satrapi (2000)[41] 21st century[edit] The Secret Life of Bees, by Sue Monk Kidd (2002)[42] The Kite Runner, by Khaled Hosseini (2003)[43] The Fortress of Solitude, by Jonathan Lethem (2003) [44] Never Let Me Go, by Kazuo Ishiguro (2005)[30]Read MoreRosalind Krauss - Photographys Discursive Spaces9350 Words   |  38 Pagespurpose other than the display of art. The space of exhibition had other features besides the gallery wall. It was also the ground of criticism, which is to say, on the one hand, the ground of a written response to the works appearance in that special context, and, on the other, the impiicit ground of choice-f either inclusion or exclusion-with everything excluded from the space of exhibition becoming marginalized with regard to its status as Art.3 Given its function as the physical vehicle of exhibition